An effective, modern haunted house story that succeeds as both an exercise in the architecture of building dread and something of a meditation on sudden loss and the ensuing thoughts that plague those left behind. It is filled with so many interesting ideas, an agonizing and dark mystery to solve, and an incredible performance by Rebecca Hall. The corners of your home will never look the same again.
My VHS cover pull-quote: Though the genres are oh so different and The Night House is perhaps more aptly compared to Hereditary, the film also tackles similar themes as 2016’s Christine (also starring Hall), which was such a bummer of a real life drama based on a true event that The Night House, this grim and darkly spooky time at the movies, is so much more uplifting.
One of the best modern surreal gothic fairy tale ghost story musicals that I’ve ever seen. Now, I only really learned about Sparks through Edgar Wright’s fantastic documentary The Sparks Brothers, but I feel foolishly confident in saying that this film perfectly reflects the ethos and mission of the band Sparks in the narrative form.
Now I’ve also only really learned of Leos Carax’s movies, but I feel even more foolishly confident saying the movie is a perfect union of Carax’s avant garde French film formula and Sparks’ meta, proto-punk ideas.
My VHS cover pull-quote: “It kind of feels like a modern mutation of the Pinocchio story told from the tame, warped perspective of the fox and the cat. That might be a bit of a stretch, but I did recently watch 2020’s dark Pinocchio (which was wonderful) so I once again feel confident in making the comparison.”
The Father is an impressive bummer of a movie that somehow makes me not want to have dementia when I’m old even more than I previously didn’t want to have it, which was already a rousing 100% heck no to that.
My VHS cover pull-quote: “My father never made it to old age, but if he had I would be worried about him becoming exactly like Anthony Hopkins in this movie, so committed to remaining in control of himself and his world, not realizing these things have already slipped away from him. It’s a trait I see in many of the older generations–that need for control–which makes it all the more heartbreaking when its wrested away from them by their own mind. It’s a tragedy that this film nails.
“I’m not the killer that little girls call ‘hero.'”
An entry into the MCU that touches on familiar themes but pulls the universe into the realm of spycraft with ease, which makes it feel different enough from (and comparitively fresh in relation to) the rest of the films in this sprawling series. More importantly, though, Natasha Romanoff is finally given substantial character development and time to be both human and, damn it, silly. Is it too late? Definitely, but better late than never.
Another place I think the film really succeeds is in its use of humor. While most MCU movies make jokes, even if they’re not comedies like Thor Ragnarok or Guardians, there is a dark undercurrent of trauma in Black Widow‘s jokes that I feel enhances out understanding of the characters’ (Yelena, especially) horrid experiences at the hands of the villain.
If anything, I’d say the action is the weakest part of the movie and the action is actually pretty solid.
My VHS cover pull-quote: “Taskmaster is so damn cool. This version of Taskmaster, that version of Taskmaster, whatever version of Taskmaster. I’ve always wanted to be Taskmaster because I don’t want to work for years honing an ability to fight like Captain America, I just want to watch Chris Evans and be able to fight like him.”
“Who would have thought a tech company didn’t have our best interests at heart?”
The animation techniques honed in Spider-Man Into the Spider-Verse are let loose and used to tell the frantic, heartfelt story of a chaotic cartoon family against the machinations of a Mark Zuckerberg stand-in. In terms of energy, it feels like the next evolution or step up from the Cloudy with a Chance of Meatballs movies, which are both classics in my book of modern movies that most people don’t think (and probably aren’t, actually) classics but I like quite a bit.
This, however, feels destined to be an actual classic whose legacy may only be hampered by the relatively tame marketing push and it just being dropped on Netflix instead of having a meaningful theatrical run. Having to watch a film with blink-and-you-miss-it visual flourishes on a TV really made me long for the big screen and the togetherness theater experience and all that. But that’s hardly the movie’s fault! The film is a kinetic, hilarious techno journey into a sugar-addled Asimovian not-too-distant-future with the requisite (and fairly progressive) family component to bring the emotion.
My VHS cover pull-quote: “There is a particular scene in this that has been making the rounds on the interweb involving a deadly Furby colossus spouting eldritch phrases, which is why it is my favorite film of the year. If I say something else is my favorite film of the year in December 2021 or something, don’t listen to Future Nick. That asshole doesn’t know what he’s talking about and he’s an old person who’s out of touch with everything. His time is over and he doesn’t even realize it yet. I, on the other hand, am young. I am important.”
This is the perfect 2021 Mortal Kombat movie just like the original adaptation was the perfect 1995 MK movie. They are, in fact, the exact same movie aged for 26 years in some sort of Outworld barrel with chains and blood on it until it was old and cool enough to say “fuck” a whole bunch.
My VHS cover pull-quote: “Stoked to see Jonny Cage in the second one. Also stoked to see such klassic MK characters as Mokap, Predator, Spawn, RoboCop, Joker, Ash Williams, Xenomorph, Terminator, John Rambo, Jason Voorhees, Kratos, and Leatherface.”
A bloody, creative cosmic horror festival that’s fit for the archduke of nightmares. The utterly inspired Power Rangers style practical creations, characters, and deaths they’ve come up with is reason enough to watch it, the fact that it’s hilarious is a glorious bonus.
My VHS cover pull-quote: “Spirits of the Electroverse, I’m going to be saying ‘Spirits of the Electroverse’ any time I talk to my TV which is quite a lot, actually. It’s one of my best friends.”
A fun detective story entry into the millennial ennui (millennui) genre that uses its ‘Encyclopedia Brown but older and sad” premise to great and sometimes surprising effect, allowing the movie to break away from any Veronica Mars and Brick comparisons. It also hits all the noir beats it needs to with classic moody shots and a soundtrack that’s heavy on the smooth noir sax.
My VHS cover pull-quote: “Has anyone coined the term ‘millennui’ for the genre that shows like Search Party and movies like this belong to yet? I’m not even going to Google it because I want the little bit of serotonin that comes with thinking I’ve come up with something original. That’s the stuff!”
As much an animated work of storybook art come to life as Song of the Sea and Secret of Kells, featuring another story that doesn’t speak down to it’s audience and deals with stuff like colonization, Claude Frollo levels of villainous doctrine, and man’s abuse of nature in addition to the friendly magical tale of wolves and self-actualization going on.
It’s just such a treat to get finely crafted 2D animation like this from Cartoon Saloon every few years.
My VHS cover pull-quote: “This could very well be categorized as a kind of werewolf film, which is wonderful. Like if David from American Werewolf in London had gone to Kilkenny in Ireland instead of those hellish moors in Britain, he could have become a part of a beautiful tale of friendship instead of getting shot with a silver bullet in an alley.”
A sequel that I enjoyed more than the first overall (the ending action actually feels like a part of the same movie), but I guess it lacks the ‘moments’ that made WW feel so fresh. Not that we should have expected those moments to be replicated or anything. The 80s aesthetic, slight commentary on the all-consuming need for ‘more’ that defined then (and now), and ferociously optimistic tone worked for me throughout. Even the goofier stuff they pull in from the Wonder Woman canon fits with the almost Rocketeer-like tone they’re going for.
But yeah, that body swap consent issue with Steve and Handsome Guy is a real problem and an absolutely avoidable one at that. Did no one clock that at any phase of scripting and filming? Even for someone who actually liked the movie, that issue is going to stand out in my mind when I look back.
My VHS cover pull-quote: “Someday they will use a 90s setting like they use an 80s setting and that will be the day that I shrivel into an old man skeleton. I fear this day.”